The following is the Enright’s interview with me taken from the article:

Ash Marlene Hane

l’étoile: How did you get involved with this collaboration?

Hane: I became acquainted with Lauren during long bleary-eyed screen printing sessions at the MCAD studios this spring. Working near each other for 20-plus hours struck up conversations and gave me a really wonderful appreciation for her work and approach. One thing led to another.

l’étoile: Your piece “Bright and Fading, A Long Goodbye,”is a visual exploration relating to how we process memories and grief. In it, you’ve created a mural of your deceased grandmother by deconstructing a digital template. Can you tell us more about this installation and your creative technique?

Hane: My current practice involves beginning with a digital image which is turned into a printing matrix and then adding hand drawn elements and also removing information by hand. So in a way, the performative aspect of the work I am doing at the house is an extension of the method in which I have recently been working – like extending my printmaking studio practice over time and allowing people to come in and watch as the work evolves. Throughout the month of May, I’ll be documenting her image; as the month passes, the installation will represent her memory. I will be documenting the transitions and posting images to my website.

l’étoile: At the end of the residency, the condemned house – AKA the temporary gallery site – is set to be demolished. Do you plan on taking your piece with you or leaving it behind as a kind of sacrificial offering?

Hane: I am installing the work directly to the wall of the house, so the work will literally become part of the house, part of the walls. As the month progresses and I begin to delete from the image, I will be scraping and removing into the wall itself. Part of the work is knowing that it will eventually be lost all together save for pictures and the memories people have of viewing it.